{"id":1707,"date":"2015-01-19T15:12:42","date_gmt":"2015-01-19T14:12:42","guid":{"rendered":"http:\/\/photo.zakkinen.net\/?p=1707"},"modified":"2021-03-13T19:43:50","modified_gmt":"2021-03-13T18:43:50","slug":"ps-blend-modes-2","status":"publish","type":"post","link":"https:\/\/photo.zakkinen.net\/en\/ps-blend-modes-2\/","title":{"rendered":"Photoshop Blend Modes - Part 2","raw":"Photoshop Blend Modes - Part 2"},"content":{"rendered":"

I already introduced the blend modes Multiplication, Linear Dodge, Linear Burn and Linear Light in the first part of the series<\/a>. In this article I’ll add some more that might be interesting for photographers. For one particular blend mode there is a separate third part, beause it is rather complicated and frequently used: Soft Light<\/a>.<\/p>\n

Throughout the first parts of this series, I’ll deal with the math behind the blend modes only. I plan to use these as a reference in later articles treating more practical aspects and use cases. The retouching method that triggered my research has already been given its own article: Frequency Separation<\/a>.<\/p>\n

Notation<\/h1>\n

Let me introduce a notation for inversion in addition to the ones I already introduced in the first part. Let the inverted image for an image \"A\" be \"\overline{A}\". Inversion doesn’t mean anything else but subtraction of the brightness values of each pixel from 1. Thus:<\/p>\n

\"\overline{a(x,y)}.<\/p>\n

Or short:<\/p>\n

\"\overline{a}.<\/p>\n

And now to the blend modes.<\/p>\n

Color Burn<\/h1>\n

I am aware that it is slighly strange to explain something called Color Burn with black and white images. But as I said before, the math is what I will focus on first. The formulas are the same regardless or the number of channels. The formula for Color Burn is:<\/p>\n

\"f(a,b)<\/p>\n

\"Farbig<\/a>
Color Burn<\/figcaption><\/figure>\n

You will notice that the whole bottom-left half drowns in black.<\/p>\n

Color Dodge<\/h1>\n

The counterpart to Color Burn.<\/p>\n

\"f(a,b)<\/p>\n

\"Farbig<\/a>
Color Dodge<\/figcaption><\/figure>\n

Here you get white for \"a.<\/p>\n

Screen<\/h1>\n

Another rather simple but nice one:<\/p>\n

\"f(a,b)<\/p>\n

\"EPS-Screen\"<\/a><\/p>\n

Overlay and Hard Light<\/h2>\n

Overlay and Hard Light are siblings. The formulas are for Overlay:<\/p>\n

\"f(a,b)<\/p>\n

and for Hard Light:<\/p>\n

\"f(a,b)<\/p>\n

Both are combinations of slightly modified Multiply and Negative Multiply.<\/p>\n

\"EPS-Overlay\"<\/a>
Overlay<\/figcaption><\/figure>\n
\"EPS-HardLight\"<\/a>
Hard Light<\/figcaption><\/figure>\n

You may see it in the images, this is not a very smooth function. Plotting the brightness over a for different fixed b one gets the following:<\/p>\n

\"Gamma-Kurven-Overlay\"<\/a><\/p>\n

Obviously not smooth. Make of it what you like.<\/p>\n

50 % grey is neutral for both Overlay and Hard Light.<\/p>\n

Vivid Light<\/h1>\n

Vivid Light can be seen as a combination of Linear Burn and Linear Dodge.<\/p>\n

\"f(a,b)<\/p>\n

\"EPS-VividLight\"<\/a>
Vivid Light<\/figcaption><\/figure>\n\n\n

Other parts of this mini-series<\/h1>\n\n\n\n

Blend Modes – Part 1: Multiply, Linear Burn, Linear Dodge and Linear Light<\/a><\/p>\n\n\n\n

Blend Modes – Part 3: Soft Light<\/a><\/p>\n","protected":false,"raw":"

I already introduced the blend modes Multiplication, Linear Dodge, Linear Burn and Linear Light in the first part of the series<\/a>. In this article I'll add some more that might be interesting for photographers. For one particular blend mode there is a separate third part, beause it is rather complicated and frequently used: Soft Light<\/a>.<\/p>\n

Throughout the first parts of this series, I'll deal with the math behind the blend modes only. I plan to use these as a reference in later articles treating more practical aspects and use cases. The retouching method that triggered my research has already been given its own article: Frequency Separation<\/a>.<\/p>\n

Notation<\/h1>\n

Let me introduce a notation for inversion in addition to the ones I already introduced in the first part. Let the inverted image for an image $latex A&bg=2a2a2a&fg=ffffff$ be $latex \\overline{A}&bg=2a2a2a&fg=ffffff$. Inversion doesn't mean anything else but subtraction of the brightness values of each pixel from 1. Thus:<\/p>\n

$latex \\overline{a(x,y)} = 1 - a(x,y)&s=1&bg=2a2a2a&fg=ffffff$.<\/p>\n

Or short:<\/p>\n

$latex \\overline{a} = 1 - a&s=1&bg=2a2a2a&fg=ffffff$.<\/p>\n

And now to the blend modes.<\/p>\n

Color Burn<\/h1>\n

I am aware that it is slighly strange to explain something called Color Burn with black and white images. But as I said before, the math is what I will focus on first. The formulas are the same regardless or the number of channels. The formula for Color Burn is:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\overline{(\\frac{\\overline{a}}{b})} = 1 - \\frac{1- a}{b} & \\text{for } b > 0\\\\0 & \\text{for } b =0 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n[caption id=\"attachment_1795\" align=\"alignnone\" width=\"300\"]\"Farbig<\/a> Color Burn[\/caption]\n

You will notice that the whole bottom-left half drowns in black.<\/p>\n

Color Dodge<\/h1>\n

The counterpart to Color Burn.<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\frac{a}{\\overline{b}} = \\frac{a}{1-b} & \\text{for } b < 1\\\\1 & \\text{for } b =1 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n[caption id=\"attachment_1800\" align=\"alignnone\" width=\"300\"]\"Farbig<\/a> Color Dodge[\/caption]\n

Here you get white for $latex a > 1-b&bg=2a2a2a&fg=ffffff$.<\/p>\n

Screen<\/h1>\n

Another rather simple but nice one:<\/p>\n

$latex f(a,b) = \\overline{\\overline{a}\\overline{b}} = 1 - (1-a)(1-b)&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

\"EPS-Screen\"<\/a><\/p>\n

Overlay and Hard Light<\/h2>\n

Overlay and Hard Light are siblings. The formulas are for Overlay:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr} 2ab & \\text{for } a < 1\/2\\\\\\overline{2\\overline{a}\\overline{b}} = 1 - 2(1-a)(1-b) & \\text{for } a \\geq 1\/2 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

and for Hard Light:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr} 2ab & \\text{for } b < 1\/2\\\\\\overline{2\\overline{a}\\overline{b}} = 1 - 2(1-a)(1-b) & \\text{for } b \\geq 1\/2 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

Both are combinations of slightly modified Multiply and Negative Multiply.<\/p>\n[caption id=\"attachment_1798\" align=\"alignnone\" width=\"300\"]\"EPS-Overlay\"<\/a> Overlay[\/caption]\n[caption id=\"attachment_1797\" align=\"alignnone\" width=\"300\"]\"EPS-HardLight\"<\/a> Hard Light[\/caption]\n

You may see it in the images, this is not a very smooth function. Plotting the brightness over a for different fixed b one gets the following:<\/p>\n

\"Gamma-Kurven-Overlay\"<\/a><\/p>\n

Obviously not smooth. Make of it what you like.<\/p>\n

50 % grey is neutral for both Overlay and Hard Light.<\/p>\n

Vivid Light<\/h1>\n

Vivid Light can be seen as a combination of Linear Burn and Linear Dodge.<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\frac{a}{2(1-b)} & \\text{for } b > {1\/2}\\\\1- \\frac{1-a}{2b} & \\text{for } b \\leq {1\/2}\\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n[caption id=\"attachment_1796\" align=\"alignnone\" width=\"300\"]\"EPS-VividLight\"<\/a> Vivid Light[\/caption]\n\n\n

Other parts of this mini-series<\/h1>\n\n\n\n

Blend Modes - Part 1: Multiply, Linear Burn, Linear Dodge and Linear Light<\/a><\/p>\n\n\n\n

Blend Modes - Part 3: Soft Light<\/a><\/p>\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":1,"featured_media":1809,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_de_post_content":"

I already introduced the blend modes Multiplication, Linear Dodge, Linear Burn and Linear Light in the first part of the series<\/a>. In this article I'll add some more that might be interesting for photographers. For one particular blend mode there is a separate third part, beause it is rather complicated and frequently used: Soft Light<\/a>.<\/p>\n

Throughout the first parts of this series, I'll deal with the math behind the blend modes only. I plan to use these as a reference in later articles treating more practical aspects and use cases. The retouching method that triggered my research has already been given its own article: Frequency Separation<\/a>.<\/p>\n

Notation<\/h1>\n

Let me introduce a notation for inversion in addition to the ones I already introduced in the first part. Let the inverted image for an image $latex A&bg=2a2a2a&fg=ffffff$ be $latex \\overline{A}&bg=2a2a2a&fg=ffffff$. Inversion doesn't mean anything else but subtraction of the brightness values of each pixel from 1. Thus:<\/p>\n

$latex \\overline{a(x,y)} = 1 - a(x,y)&s=1&bg=2a2a2a&fg=ffffff$.<\/p>\n

Or short:<\/p>\n

$latex \\overline{a} = 1 - a&s=1&bg=2a2a2a&fg=ffffff$.<\/p>\n

And now to the blend modes.<\/p>\n

Color Burn<\/h1>\n

I am aware that it is slighly strange to explain something called Color Burn with black and white images. But as I said before, the math is what I will focus on first. The formulas are the same regardless or the number of channels. The formula for Color Burn is:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\overline{(\\frac{\\overline{a}}{b})} = 1 - \\frac{1- a}{b} & \\text{f\\\"ur } b > 0\\\\0 & \\text{f\\\"ur } b =0 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

[caption id=\"attachment_1795\" align=\"alignnone\" width=\"300\"]\"Farbig<\/a> Color Burn[\/caption]<\/p>\n

You will notice that the whole bottom-left half drowns in black.<\/p>\n

Color Dodge<\/h1>\n

The counterpart to Color Burn.<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\frac{a}{\\overline{b}} = \\frac{a}{1-b} & \\text{f\\\"ur } b < 1\\\\1 & \\text{f\\\"ur } b =1 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

[caption id=\"attachment_1800\" align=\"alignnone\" width=\"300\"]\"Farbig<\/a> Color Dodge[\/caption]<\/p>\n

Here you get white for $latex a > 1-b&bg=2a2a2a&fg=ffffff$.<\/p>\n

Screen<\/h1>\n

Another rather simple but nice one:<\/p>\n

$latex f(a,b) = \\overline{\\overline{a}\\overline{b}} = 1 - (1-a)(1-b)&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

\"EPS-Screen\"<\/a><\/p>\n

Overlay and Hard Light<\/h2>\n

Overlay and Hard Light are siblings. The formulas are for Overlay:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr} 2ab & \\text{f\\\"ur } a < 1\/2\\\\\\overline{2\\overline{a}\\overline{b}} = 1 - 2(1-a)(1-b) & \\text{f\\\"ur } a \\geq 1\/2 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

and for Hard Light:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr} 2ab & \\text{f\\\"ur } b < 1\/2\\\\\\overline{2\\overline{a}\\overline{b}} = 1 - 2(1-a)(1-b) & \\text{f\\\"ur } b \\geq 1\/2 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

Both are combinations of slightly modified Multiply and Negative Multiply.<\/p>\n

[caption id=\"attachment_1798\" align=\"alignnone\" width=\"300\"]\"EPS-Overlay\"<\/a> Overlay[\/caption]<\/p>\n

[caption id=\"attachment_1797\" align=\"alignnone\" width=\"300\"]\"EPS-HardLight\"<\/a> Hard Light[\/caption]<\/p>\n

You may see it in the images, this is not a very smooth function. Plotting the brightness over a for different fixed b one gets the following:<\/p>\n

\"Gamma-Kurven-Overlay\"<\/a><\/p>\n

Obviously not smooth. Make of it what you like.<\/p>\n

50 % grey is neutral for both Overlay and Hard Light.<\/p>\n

Vivid Light<\/h1>\n

Vivid Light can be seen as a combination of Linear Burn and Linear Dodge.<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\frac{a}{2(1-b)} & \\text{f\\\"ur } b > {1\/2}\\\\1- \\frac{1-a}{2b} & \\text{f\\\"ur } b \\leq {1\/2}\\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

[caption id=\"attachment_1796\" align=\"alignnone\" width=\"300\"]\"EPS-VividLight\"<\/a> Vivid Light[\/caption]<\/p>\n\n\n

Die anderen Teile dieser Miniserie<\/h2>\n\n\n\n

Verrechnungsmodi in Photoshop \u2013 Teil 1: Multiplikation, Lineares Nachbelichten, Lineares Abwedeln und Lineares Licht<\/a><\/p>\n\n\n\n

Verrechnungsmodi in Photoshop - Teil 3: Weiches Licht<\/a><\/p>\n","_de_post_name":"verrechnungsmodiphotoshop-teil-2","_de_post_excerpt":"","_de_post_title":"Verrechnungsmodi in Photoshop - Teil 2","_en_post_content":"

I already introduced the blend modes Multiplication, Linear Dodge, Linear Burn and Linear Light in the first part of the series<\/a>. In this article I'll add some more that might be interesting for photographers. For one particular blend mode there is a separate third part, beause it is rather complicated and frequently used: Soft Light<\/a>.<\/p>\n

Throughout the first parts of this series, I'll deal with the math behind the blend modes only. I plan to use these as a reference in later articles treating more practical aspects and use cases. The retouching method that triggered my research has already been given its own article: Frequency Separation<\/a>.<\/p>\n

Notation<\/h1>\n

Let me introduce a notation for inversion in addition to the ones I already introduced in the first part. Let the inverted image for an image $latex A&bg=2a2a2a&fg=ffffff$ be $latex \\overline{A}&bg=2a2a2a&fg=ffffff$. Inversion doesn't mean anything else but subtraction of the brightness values of each pixel from 1. Thus:<\/p>\n

$latex \\overline{a(x,y)} = 1 - a(x,y)&s=1&bg=2a2a2a&fg=ffffff$.<\/p>\n

Or short:<\/p>\n

$latex \\overline{a} = 1 - a&s=1&bg=2a2a2a&fg=ffffff$.<\/p>\n

And now to the blend modes.<\/p>\n

Color Burn<\/h1>\n

I am aware that it is slighly strange to explain something called Color Burn with black and white images. But as I said before, the math is what I will focus on first. The formulas are the same regardless or the number of channels. The formula for Color Burn is:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\overline{(\\frac{\\overline{a}}{b})} = 1 - \\frac{1- a}{b} & \\text{for } b > 0\\\\0 & \\text{for } b =0 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n[caption id=\"attachment_1795\" align=\"alignnone\" width=\"300\"]\"Farbig<\/a> Color Burn[\/caption]\n

You will notice that the whole bottom-left half drowns in black.<\/p>\n

Color Dodge<\/h1>\n

The counterpart to Color Burn.<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\frac{a}{\\overline{b}} = \\frac{a}{1-b} & \\text{for } b < 1\\\\1 & \\text{for } b =1 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n[caption id=\"attachment_1800\" align=\"alignnone\" width=\"300\"]\"Farbig<\/a> Color Dodge[\/caption]\n

Here you get white for $latex a > 1-b&bg=2a2a2a&fg=ffffff$.<\/p>\n

Screen<\/h1>\n

Another rather simple but nice one:<\/p>\n

$latex f(a,b) = \\overline{\\overline{a}\\overline{b}} = 1 - (1-a)(1-b)&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

\"EPS-Screen\"<\/a><\/p>\n

Overlay and Hard Light<\/h2>\n

Overlay and Hard Light are siblings. The formulas are for Overlay:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr} 2ab & \\text{for } a < 1\/2\\\\\\overline{2\\overline{a}\\overline{b}} = 1 - 2(1-a)(1-b) & \\text{for } a \\geq 1\/2 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

and for Hard Light:<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr} 2ab & \\text{for } b < 1\/2\\\\\\overline{2\\overline{a}\\overline{b}} = 1 - 2(1-a)(1-b) & \\text{for } b \\geq 1\/2 \\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n

Both are combinations of slightly modified Multiply and Negative Multiply.<\/p>\n[caption id=\"attachment_1798\" align=\"alignnone\" width=\"300\"]\"EPS-Overlay\"<\/a> Overlay[\/caption]\n[caption id=\"attachment_1797\" align=\"alignnone\" width=\"300\"]\"EPS-HardLight\"<\/a> Hard Light[\/caption]\n

You may see it in the images, this is not a very smooth function. Plotting the brightness over a for different fixed b one gets the following:<\/p>\n

\"Gamma-Kurven-Overlay\"<\/a><\/p>\n

Obviously not smooth. Make of it what you like.<\/p>\n

50 % grey is neutral for both Overlay and Hard Light.<\/p>\n

Vivid Light<\/h1>\n

Vivid Light can be seen as a combination of Linear Burn and Linear Dodge.<\/p>\n

$latex f(a,b) = \\left\\{ \\begin{array}{lr}\\frac{a}{2(1-b)} & \\text{for } b > {1\/2}\\\\1- \\frac{1-a}{2b} & \\text{for } b \\leq {1\/2}\\end{array} \\right.&s=1&bg=2a2a2a&fg=ffffff$<\/p>\n[caption id=\"attachment_1796\" align=\"alignnone\" width=\"300\"]\"EPS-VividLight\"<\/a> Vivid Light[\/caption]\n\n\n

Other parts of this mini-series<\/h1>\n\n\n\n

Blend Modes - Part 1: Multiply, Linear Burn, Linear Dodge and Linear Light<\/a><\/p>\n\n\n\n

Blend Modes - Part 3: Soft Light<\/a><\/p>\n","_en_post_name":"ps-blend-modes-2","_en_post_excerpt":"","_en_post_title":"Photoshop Blend Modes - Part 2","edit_language":"en","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[448],"tags":[455,454,458,457,460,456,461,459],"class_list":["post-1707","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-methoden","tag-farbig-abwedeln","tag-farbig-nachbelichten","tag-hartes-licht","tag-ineinanderkopieren","tag-mathematik","tag-negativ-multiplizieren","tag-strahlendes-licht","tag-verrechnungsmodi"],"jetpack_featured_media_url":"https:\/\/photo.zakkinen.net\/wp-content\/uploads\/2015\/01\/Gamma-Kurven-Overlay-e1615471395848.png","jetpack_shortlink":"https:\/\/wp.me\/p2DYS2-rx","jetpack_likes_enabled":false,"jetpack-related-posts":[{"id":1655,"url":"https:\/\/photo.zakkinen.net\/en\/ps-blend-modes-1\/","url_meta":{"origin":1707,"position":0},"title":"Photoshop Blend Modes - Part 1","author":"zakkinen","date":"31. December 2014","format":false,"excerpt":"K\u00fcrzlich habe ich mich mit der Methode der Frequenztrennung (frequency separation) zur Retusche besch\u00e4ftigt. Bevor ich mir die Methode verst\u00e4ndlich machen konnte, musste ich mich erst mal mit den Verrechnungsmodi (Blend Modes) in Photoshop vertraut machen. Dazu gibt es eine Menge zu finden und zu sagen. Ich will einfach anfangen\u2026","rel":"","context":"In "Methods and Techniques"","block_context":{"text":"Methods and Techniques","link":"https:\/\/photo.zakkinen.net\/en\/category\/methods\/"},"img":{"alt_text":"Gradient-horizontal","src":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/12\/Gradient-horizontal1.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1746,"url":"https:\/\/photo.zakkinen.net\/en\/ps-blend-modes-3\/","url_meta":{"origin":1707,"position":1},"title":"Photoshop Blend Modes - Part 3","author":"zakkinen","date":"20. January 2015","format":false,"excerpt":"Weiches Licht (Soft Light) Soft Light ist die Verrechnungsmethode, \u00fcber die man am h\u00e4ufigsten Fehlerhaftes liest. Was auch daran liegt, dass verschiedene Hersteller die Methode unterschiedlich definieren und so zur Verwirrung beitragen. Ich habe leider noch keine Begr\u00fcndungen f\u00fcr die Wahl der jeweiligen Berechnungen gefunden. Photoshop Mein Photoshop CC verwendet\u2026","rel":"","context":"In "Methods and Techniques"","block_context":{"text":"Methods and Techniques","link":"https:\/\/photo.zakkinen.net\/en\/category\/methods\/"},"img":{"alt_text":"Verlauf A","src":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2015\/01\/EPS-A.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1725,"url":"https:\/\/photo.zakkinen.net\/en\/frequency-separation\/","url_meta":{"origin":1707,"position":2},"title":"Frequency Separation","author":"zakkinen","date":"31. December 2014","format":false,"excerpt":"K\u00fcrzlich habe ich mich mit der Methode der Frequenztrennung zur Retusche besch\u00e4ftigt. Bei den Fstoppers habe ich einen einen interessanten Artikel dazu gefunden, der mich aber mit Fragen zur\u00fcckgelassen hat. Eine war: warum ist Lineares Licht die richtige Verrechnungsmethode f\u00fcr die beiden Ebenen? Und direkt im Anschluss die Fragen, wo\u2026","rel":"","context":"In "Methods and Techniques"","block_context":{"text":"Methods and Techniques","link":"https:\/\/photo.zakkinen.net\/en\/category\/methods\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/12\/Skin-Demo-Final.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2516,"url":"https:\/\/photo.zakkinen.net\/en\/insektenmakros\/","url_meta":{"origin":1707,"position":3},"title":"Macros of Insects","author":"zakkinen","date":"4. September 2016","format":false,"excerpt":"Seit einiger Zeit versuche ich mich an Makros kleiner Insekten. Im Moment verwende ich ein Sigma MACRO 105mm F2.8 DG mit Kenko Zwischenringen, meist mit einem 20 mm Ring, an meiner Canon EOS R. Noch bin ich ziemlich am Anfang, aber es kristallisieren sich ein paar Erkenntnisse heraus. Es gibt\u2026","rel":"","context":"In "Techniques"","block_context":{"text":"Techniques","link":"https:\/\/photo.zakkinen.net\/en\/category\/techniken\/"},"img":{"alt_text":"Marienk\u00e4fer Nahaufnahme","src":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2017\/05\/IMG_2036.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2017\/05\/IMG_2036.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2017\/05\/IMG_2036.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2017\/05\/IMG_2036.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2017\/05\/IMG_2036.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2017\/05\/IMG_2036.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":1970,"url":"https:\/\/photo.zakkinen.net\/en\/englisches-lightroom-mit-deutscher-tastatur\/","url_meta":{"origin":1707,"position":4},"title":"Englisches Lightroom mit deutscher Tastatur","author":"zakkinen","date":"11. October 2015","format":false,"excerpt":"Mit einem einfachen Trick eine deutsche Tastaturbelegung mit englischem Lightroom benutzen. Die Herausforderung Weil ich bevorzugt englischsprachige Fotoseiten lese und auch eine Menge Foto-Lehrb\u00fccher in dieser Sprache besitze, bevorzuge ich ein englisches Lightroom. So spare ich mir die Suche nach der deutschen Bezeichnung f\u00fcr einen Begriff, der z. B. in\u2026","rel":"","context":"In "Tools"","block_context":{"text":"Tools","link":"https:\/\/photo.zakkinen.net\/en\/category\/tools\/"},"img":{"alt_text":"US Tastaturlayout","src":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2015\/10\/900px-KB_United_States-NoAltGr.svg_.png?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2015\/10\/900px-KB_United_States-NoAltGr.svg_.png?resize=350%2C200 1x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2015\/10\/900px-KB_United_States-NoAltGr.svg_.png?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2015\/10\/900px-KB_United_States-NoAltGr.svg_.png?resize=700%2C400 2x"},"classes":[]},{"id":1191,"url":"https:\/\/photo.zakkinen.net\/en\/effekte-effekte\/","url_meta":{"origin":1707,"position":5},"title":"Effekte, Effekte!","author":"zakkinen","date":"2. January 2014","format":false,"excerpt":"Vincent Versace, dessen Buch Welcome to Oz 2.0 ich gerade durcharbeite, ist ein gro\u00dfer Freund von vorgefertigten Effekten, z.B. von Nik (jetzt leider Google) oder OnOne. Ich habe bislang immer Abstand genommen von diesen Dingen, weil mir die Ergebnisse immer zu spektakelig daher kamen. Jetzt habe ich probehalber mal angefangen,\u2026","rel":"","context":"In "Methods and Techniques"","block_context":{"text":"Methods and Techniques","link":"https:\/\/photo.zakkinen.net\/en\/category\/methods\/"},"img":{"alt_text":"Party Over","src":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/01\/Party-Over.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/01\/Party-Over.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/01\/Party-Over.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/01\/Party-Over.jpg?resize=700%2C400 2x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/01\/Party-Over.jpg?resize=1050%2C600 3x, https:\/\/i0.wp.com\/photo.zakkinen.net\/wp-content\/uploads\/2014\/01\/Party-Over.jpg?resize=1400%2C800 4x"},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/posts\/1707","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/comments?post=1707"}],"version-history":[{"count":66,"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/posts\/1707\/revisions"}],"predecessor-version":[{"id":6194,"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/posts\/1707\/revisions\/6194"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/media\/1809"}],"wp:attachment":[{"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/media?parent=1707"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/categories?post=1707"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/photo.zakkinen.net\/en\/wp-json\/wp\/v2\/tags?post=1707"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}